The One and Only Angel Season 5 Thread

[Anakin Flair 0]

Well, with Willow and Xander, she had wanted him for years, and she could finally have him, in a limited way. The most they ever did was make out. And once she saw how much it hurt Oz when he found out, she eneded it and worked on rebuilding her relationship with Oz. Oz, on the otehr hand, had shown his attraction ot Veruca several times up till the point where they had sex, and they ended up doing it twice. It was something that Oz wanted subconciencely- he wanted to be with someone like him. And while he did kill Veruca in the end, it was still amde very clear that if he found someone else who was a werewolf, he would go with them.

[Mole 0]

Cordy was so much hotter than Buffy and Willow.

::bitchslaps LPM::

I might have not liked her acting, but she is defiently hotter than Buffy and Willow.

[Jingus 0]

::bitchslaps WR&M as well::

 

Don't you ever, EVER insult the absolutely goddessness that is Aly Hannigan.

[Guest Brian]

Gunn really got a taste of what it was like to have real power. Just being the muscle was nothing. But getting a glimpse of what it was like, having all that knowledge, was something addictive to Gunn. He needed that power, and he got used to it. And when he began to lose it, he compromised everything for it. Makes a better addiction story than Willow with applications to power. Gunn didn't care how he got back to the top.

 

The climax of that was Gunn giving up himself. Gunn took responsibility of what was getting out of control way before Angel did, and he paid his price, did his time. Fred was a consequence, but the true climax was Gunn taking his punishment.

[Ravenbomb 0]

Hotter than Buffy post Season 2, maybe, but Cordelia was NEVER hotter than Willow

[Guest Brian]

Cordelia had a motherfuckin' body.

[Jingus 0]

And the whole time she had really weird-lookin' nipples too, as the Playboy pics exposed.

[LaParkaMarka 0]

The nips are definately weird. But hey, not like any of us have seen Aly's or SMG's to compare. For all we know they have freak nipples too.

 

Besides, her body absolutely destroys Aly. Charisma has curves.

[Mole 0]

I got this from IMDB.com's trivia section about Angel. Now this is some continuity for you:

 

In the Season 4 episode "Spin the Bottle," Cordelia, seeing Angel for the first time says, "Hello, salty goodness," the same line she said the first time she saw him in the first season of "Buffy the Vampire Slayer."

[Anya 0]

I just noticed Harmony uses Cordelia's border for her part in the opening credits. McNabb is the only actor in the series to not get an original one. Must have put her in at the last minute. Angel has like the coolest opening ever.

[Guest Brian]

Full episode 2:

 

Scene 1:

 

<The street is grimy. Cars are overturned. Buildings are smashed, glass on the street. The sun is setting. Camera fades up from the foot level. A woman rushes by. A winged creature swoops down on her, with red eyes. She falls to the ground, and the winged creature lands. Suddenly Connor lands next to the monster, wielding a sword. He takes a swing, but the creature blocks his arm it with his wing. Connor drops the sword and catches it with the other hand. He tries an uppercut but the creature takes flight. Connor jumps and grabs it leg, whipping it down hard. He drops the sword into its chest.>

 

Young woman: <crying> What happened? What’s going on?

 

Connor: Death. And pain. That’s all there is left in this place.

 

Young Woman: You saved me from that monster.

 

Connor: It’s my job.

 

<Connor begins to turn away, as a pack of hell beasts emerge and pounce on the woman. Connor turns back, sighs, and lifts his sword. Fade to intro.>

 

Scene 2:

 

<Camera enters the sewer through a pipe, focusing on two images. The sound of punches is heard in the background. Camera turns around the corner, revealing that Connor and Kent are sparring. Connor delivers a series of lightning quick blows, ending by knocking Kent into a wall.>

 

Kent: You’re stronger than I was led to believe.

 

Connor: It doesn’t help.

 

<Kent puts down his pads.>

 

Kent: It can’t hurt.

 

Connor: And yet, people are still dying out there.

 

Kent: People always die. In the risk that we take by going outside, by picking up this sword, by living everyday.

 

Connor: There’s nothing I can do about it. I watched a woman die in front of me after I saved her. And that’s all I’ll ever see. I’ll save them, and they’ll die later.

 

Kent: It’s not hopeless, though. You can’t change things by sitting back and letting it play out; you need to risk yourself. You need to give it all up to win sometimes. You need to fight like there’s no tomorrow. Because sometimes there’s not.

 

Connor: Like today. Or yesterday. Nothing changes. I kill a few, and they keep coming. For every one, there’s a hundred more. So what am I fighting for?

 

Kent: For yourself. And don’t forget it.

 

<Fade out of scene. Camera is blurry, then focuses on a sign titled “Wolfram & Hart”. Camera turns to Connor and Kent.>

 

Connor: This is the source. This is where we last fought together. This is where the evil has come from.

 

<Camera reveals a battered down building, with debris scattered.>

 

Kent: They didn’t leave anything. They no longer have to conceal what they do.

 

Connor: I was here when they destroyed this place.

 

Kent: This was their base of operations, wasn’t it? Why would they get rid of it?

 

Connor: Because they don’t need it anymore.

 

<Connor bends down. He picks up a handful of gravel.>

 

Connor: I can still smell him.

 

<Connor throws the debris and begins to walk away.>

 

Kent: You can’t live in the past forever.

 

Connor: <Under his breath> I try not to.

 

<Scene 3>

 

<Connor is walking down a suburban street, sword in hand. Kent follows behind with his crossbow, a bag over his shoulder. Kent is nervously looking around.>

 

Kent: The sun’s going down. We have to get underground soon.

 

Connor: We still have another half hour. Besides, some of them are feeding. The blood is in the air.

 

<Connor looks around. His ears twitch. He begins to run.>

 

Kent: Connor, wait!

 

<Inside a house. Furniture is turned upside down. Couch is ripped. Three people are sitting, crouched into the ground. A young girl, fifteen, is crying. Two monsters are talking to each other. One has scales and a spiked tail. The smaller monster also has scales but has gills.>

 

Bigger monster: I like this place. Food all over; defenseless. <Heads over to girl, looks her over and gives a lick.> And virgin blood for desert. <Girl breaks down again.> Don’t worry honey, you’ll get to outlive your parents. And it won’t take too long.

 

<Door flies out and Connor is standing in the opening.>

 

Connor: Am I interrupting something?

 

<The smaller monster attacks Connor. Connor blocks a punch and delivers a series of punches to its stomach, followed by a roundhouse kick, knocking him backwards.>

 

Smaller monster, to larger monster: A little help.

 

<The larger monster wipes blood from his teeth. He stands to his feet, the mother and father both slain. He whips his tail out, hooking Connor’s leg and throwing him into the wall.>

 

Smaller monster: You started without me.

 

Bigger monster: He’s getting up.

 

<Smaller monster pounces on Connor, mounting him. His mouth opens wide, revealing a second set of teeth. Connor punches him once but the monster doesn’t flinch.>

 

Bigger monster: This doesn’t look good for you.

 

<Connor throws a left. The smaller monster smiles and bends down to take bite. Connor headbutts the monster in the mouth. The smaller monster raises its head and spits out a tooth.>

 

Bigger monster: You going to let that human do that to you.

 

<The smaller monster tries a right, but Connor blocks it. Connor hooks his arm. The smaller monster tries a left, but that gets caught and hooked. Connor delivers a series of headbutts while rising to his feet. Connor releases both arms and drives his knee into the monsters head, denting the skull and dropping it to the ground. Connor turns and sees that the other monster has left. He picks up his sword. Kent comes running through the door.>

 

Kent: What did I miss?

 

<Connor brushes by him and heads straight to the motorcycle. He grabs the bag and looks through it. He grabs a double-headed axe.>

 

Kent: It’s getting dark, and they’ll have the numbers.

 

Connor: I’m not going to let this one die.

 

Kent: Let who die?

 

Connor: The girl. I should have saved her. I’m going to save her.

 

<Connor heads to the manhole. He lifts up the cover.>

 

Connor: Head back to cover. I’ll take care of this.

 

Kent: You’re being rash and unreasonable. He’s heading straight to a nest, and you don’t have the firepower.

 

Connor: I’m tired of watching people die.

 

Kent: Connor, people die. It’s natural, and it happens.

 

Connor: And all this, does all this just naturally happen. I don’t fight, people die. I fight, people die. Well, I’m already tired of it all. I’m not going to let it happen again.

 

<Connor drops down the manhole. Kent heads over to the manhole, gathers his things, and starts the cycle.>

 

Scene 4:

 

<Footsteps are heard in the sewer pipe. Connor is seen running through the sewers. A hand grabs Connor and pulls him into another pipe. Connor reacts, delivering a punch and a kick. Camera reveals Kent falling to his knees.>

 

Kent: I already know about your strength. But your decision-making. You need to think about what you’re doing.

 

Connor: I’ve already thought about what I’m doing. I think about it every time I walk those streets. I see it in their eyes. I smell it in the blood. It’s death. And fear. And it has to stop. I need to stop it. I have to start with her.

 

Kent: You’re reacting to something you can’t control.

 

Connor: I’m in control.

 

Kent: You’re not in control. You’re operating out of emotion. I see it everyday too. But you can’t go out and try to do more than you can because of it.

 

Connor: I can handle it.

 

Kent: She’s lost Connor, and there’s nothing you can do. You can’t save everyone.

 

Connor: But I’m going to save her. So leave me before I lose the scent.

 

<Connor takes off, sword and axe in hand. Kent picks up his crossbow, and begins to jog after Connor, slowly.>

 

<The large monster gets to his den. He puts the girl down.>

 

Large monster: He can track me. I’m going to have to eat you now.

 

<The girl begins to whimper as the tip of his tail strokes her face. It rises as he nears her. Suddenly an axe flies through, catching the tail between the two heads. Connor charges, sword in hand. He swings but the monster steps back. He takes a second swing but the monster pulls the axe out of the wall and blocks. He whips his tail out and sweeps Connor out from under his feet. Connor rolls to dodge an axe smash and spins himself up. Kent hits the scene, crossbow pointed, walking slowly.>

 

Connor: Get to the girl.

 

<Connor charges at the monster and they block each other’s weapons shots. Connor turns the sword and deflects an axe blow to the ground. They drop their weapons. Connor tries to hit a punch but the monster blocks and delivers a headbutt and a punch. Kent gets knocked back ten feet by the monster’s tail. The girl tries to run but the monster gives chase, picking her up. Connor’s hand grabs at it, but the monster spins around and under his arm, catching him again with the tale. The monster hits an uppercut on Connor, sending him to the ground. He takes off with the girl, as an arrow misses. Kent crawls over to Connor. Connor staggers up as Kent grabs him. >

 

Connor: I’m not going to lose her.

 

Kent: Get out of here.

 

<Connor runs off. Kent slowly gets to his feet. Cut to Connor catching the monster and throwing him against the wall. The girl falls to the ground.>

 

Connor: Get out of here.

 

<She begins to run away but Kent catches her. He escorts her through a tunnel.>

 

Large monster: I guess it’s just you and me.

 

Connor: The way it should be.

 

Larger monster: Are you sure about that?

 

Connor: Yeah, I am.

 

<Connor dodges a tail whip, crashing into the cement and causing a crack and dust to kick up. Connor steps in and lands a few body shots, quickly. The monster tries for a sweep with the tail but Connor jumps on the tail and attempts a roundhouse. The monster ducks and spins, trying for a clothesline. Connor gets then tail to the gut and the monster turns and hits an elbow to the back of the head. Connor falls to his knees. The katana slides out to Connor, who grasps it before the monster steps on it. Kent lands an arrow on his calf while clutching the girl with his other arm, allowing Connor to pull up the sword. The monster jumps to a ladder, climbing out of the sewer to a manhole.>

 

Large monster: We’ll continue this later human.

 

Connor: Are you okay.

 

Girl: My parents.

 

Connor: I know what it’s like. These monsters killed my family. I won’t let this one get away.

 

Girl: Who are you?

 

Connor: That’s a good question.

 

Kent: We need to get back home. It’s dark outside.

 

<Connor grabs a holder for the sword and straps it to his back. He jumps straight up through the hole.>

 

Kent: There he goes again.

 

Scene 5:

 

<The city is dark, with almost all lights dark. Few streetlights are on. The dragon flies overhead. Camera pans down to an alley where Connor is hiding, under cover. Connor begins to move slowly.>

 

Connor: I’ve never seen this place at night.

 

<Kent emerges from the shadows.>

 

Kent: I hope we don’t have to.

 

Connor: But we do. We need to take the fight to them. We can’t keep on sitting back.

 

Kent: We’re not sitting back. We’re staying alive.

 

Connor: What about the girl.

 

Kent: She’s fine.

 

Connor: How many of them are out there?

 

Kent: It’s like a big nest. I can’t even tell.

 

Connor: I’m going to kill them all. <Pauses> Go back and protect her. I know exactly where it is.

 

<Connor quickly scales the building, leaving Kent alone to look on.>

 

<The large lizard monster is walking the streets, strutting along. A gargoyle-like monster gets out of its way.>

 

Large monster: What are you looking at?

 

<Connor jumps down, slicing the head of the gargoyle creature.>

 

Connor: Looking at you, sunshine.

 

Large monster: You just don’t go away do you.

 

<He whips his tail but Connor jumps and spins, hitting kick and swinging the sword. The monster falls back but block Connor’s arm, and knocks the sword out of his hand. Connor gets backhanded in the face. Connor returns with a right hand to the face and a high kick just under its jaw. The monster tries to whip its tail but Connor grabs it this time and throws it into the building. Connor picks up his sword and strolls over.>

 

Large monster: You really think it’s this simple. You kill me, there’s a hundred thousand more out there. There’s nothing you can do, so why try?

 

<The monster tries fighting with its tail but Connor blocks each of the three shots with his sword. The monster hits two shots to the gut, sending Connor reeling. Connor dropkicks the monster as a last ditch, throwing his sword and missing. Connor spins to his feet.>

 

Large Monster: Is that all you got?

 

<Connor whips out two knives from under his shirt sleeves, throwing them to his side, hitting two slimy creatures in the chest. They both fall.>

 

Connor: That was all I had.

 

<Large monster charge at Connor but Connor weaves around two punches and grabs his neck. The monster turns and throws Connor into the wall, causing him to release his grip. He tries an elbow but Connor catches it and throws him head first into the wall. Connor clotheslines him as he falls on his back. The monster uses its tail to buoy itself up to deliver a kick, sending Connor flying to his side and into one of the fallen monsters. The monster walks over, Connor getting up slowly. As the monster nears, Connor removes the knife from the head and stabs into the monster. He jumps up, bringing the knife to the monster’s neck. He pulls the knife out, allowing the monster to fall to its knees, then its stomach. Connor walks away, leaving a bloody trail of footsteps.>

 

<Back in their den, Connor is returning the sword to its place. He heads over to a cot and sits next to the girl.>

 

Connor: My name’s Connor.

 

Girl: I’m Eliana.

 

Connor: It’s not easy losing people out there, especially your parents. I lost mine too.

 

Girl: Does it ever get any easier?

 

Connor: Some days, it is.

 

Girl: Is that why you fight?

 

Connor: I fight because it’s the right thing…sometimes it’s the only thing you can do.

 

Girl: And what about me.

 

Connor: I’m going to protect you.

 

<She puts her head on Connor’s shoulder.>

 

<Cut away to the streets. The sun is beginning to break. A robed figure walks by, meeting with a spiked face demon in a business suit. Close-up on the robed figure’s face, which is pale white with a sanscrit letter on each cheek. He bends down to examine the dead bodies.>

 

Robed Figure: So this is the work of the vampire’s son.

 

Demon: He strong. Stronger than we anticipated.

 

Robed Figure: You know what must be done.

[LaParkaMarka 0]

Ooh, cliffhanger. Nice work Brian.

[RavishingRickRudo 0]

Brian. Please. For my sanity. Please let that be the end...

 

 

 

 

 

 

 

 

 

 

 

 

... of Kent/Connor bickering over what to do.

 

 

I just wanna smack em both!

 

And where is Ron Glass as the shopkeeper? The man who is the last refuge of the damned. The man who continues running his store in the face of armageddon. WHERE IS HE??!

[Guest Brian]

I want to settle down the bickering, but Connor's still a bit naive and rash in how he does things. But I feel that with Connor having to play a protector role to Eliana, he's going to have to settle down.

[RavishingRickRudo 0]

You said nothing of Shopkeeper Book. Er.. I mean Ron Glass.

[Mole 0]

Nicely done Brian.

 

On a different subject, has anyone read Astonishing X-Men that Joss is writing? I got the first two issues in today, and they were good. Then again, I never ever have read a comic book before so I don't really have much knowledge. But you can tell that Joss is writing it; the little jokes that he always throws in.

[Guest SP-1]

I have Astonishing X number 1 and I'm getting number 2 this weekend hopefully. I may get a subscription for Joss's run.

 

I thought it was an excellent comic. Joss's panel layouts and his shots make me feel like i'm watching a telelvision show. The line about "we have to astonish them" and the big reveal of the new costumes was so well done that it wasn't cheesy. And it could have been very cheesy. The artist complement Joss's storytelling style so well that I don't want to see them broken up as a team anytime soon. All in all, Joss once again delivers. He's quickly becoming favorite overall writer.

[Mole 0]

So does the writer tell the artist what to draw?

[Jingus 0]

The writer gives the artist the general outline of what to draw: along the lines of, "Cyclops blasts a Sentinel" or "Rogue and Gambit bitch and moan about their relationship in an angsty way for ten pages". It's up to the artist to fill in the details and make that outline come to life. Although some writers are more controlling than others, it just depends on the individual team.

[Guest SP-1]

It depends on the writer and the artist and what they come to. There isn't really a hardline method to comic script writing, not like there is to movie script writing or television script writing. Some writers are more descriptive than others and some work closely with the artist and some just let the artist interpret it. But the layout and direction in Astonishing reeked of Whedon being very involved in the art process to me.

[Mole 0]

Oh okay, thanks.

 

Another question, who is the chick in the white?

[Guest SP-1]

Emma Frost. If I'm not mistaken, Emma was evil back in the day, when Kitty was first around. Which explains the heat between them. But someone else will have to explain it deeper.

[Mole 0]

I know Joss loosely based Buffy on Kitty, so I am guessing that is one of reasons why he brought her back.

[Guest SP-1]

Really? That's pretty cool.

 

More and more, Joss impresses me. As a writer, I enjoy analyzing other writers who entertain me and seeing WHY they are able to disarm me and dig in and get me involved with a story. Whedon is amazing in his ability to suck you in, and he can apparently do it in more than just television. AnonymousBroccoli and I were discussing Joss's annoyingly great habit of going to commercial or ending a show on a huge "Uh Oh!" moment (as AB called it). We were wondering how that might translate to the Firefly movie.

[Jingus 0]

Joss is a HELL of a screenwriter, which is a skill that he was NOT born with; go back and look at the original Buffy movie sometime to see just how lame he could get before he found his groove.

 

But as for his comics; the only things I've read are a few of the Slayer comics he was involved with, including Fray, and all in all I wasn't terribly impressed. He still knows how to create excellent unpredictable plot twists, and he just happens to write in a style that reads as funny as it sounds, but still... some intangible is just lost when his work is applied to drawings on a page instead of actors in a show. I think his choice of artists is kinda suspect at times, which might have a large part to do with it.

[Guest SP-1]

I need to see the original Buffy movie. I've managed to avoid it for a long time for some reason.

[Jingus 0]

It's pretty damn bad. Pee-Wee Herman as a biker-looking vampire henchman is about the only redeeming part of it, plus watching Luke Perry trying to be Xander Version 0.1. For some reason, Joss has blamed Donald Sutherland for wrecking the film, even though all he did was change his own lines. It looks more like a failure of everybody involved than anything else. Hell, it was so bad it's what kept me from watching the TV series for the entire seven years it ran.

[RavishingRickRudo 0]

I thought David Arquette was Xander 0.01

 

[Mole 0]

Yeah, I second that. The movie just straight up sucks big balls. I catch it on HBO every now and then. Even though I don't like it, I'll still watch it for some odd reason.

[Anya 0]

The movie is horrible. It needs Anya.